What was Pre-Columbian music like? Currently, we can only imagine its sounds by reading brief descriptions in sixteenth-century texts, complemented with the study of representations of musicians in art, and the ethnographic study of indigenous music.

In this exhibition, we offer another perspective, scarcely explored so far: the study of Pre-Columbian musical instruments. There are many well-preserved instruments, still capable of producing sounds. These include ceramic whistles of various classes, ceramic drums, rattles and bells, plus some instruments made of other materials, such as bone scrapers. Unfortunately, nothing remains of the instruments made from perishable materials, such as the large trumpets that are frequently depicted in Pre-Columbian art. Nevertheless, the extant instruments offer a marvelous idea of the range of sounds that may have been heard in daily life, rituals and feasts by the ancient Maya.

This exhibition includes 49 Pre-Columbian instruments from the collection of the Popol Vuh Museum. These instruments were analyzed by ethnomusicologist Alfonso Arrivillaga Cortés, who is currently preparing a book on the subject, to be published by the Popol Vuh Museum. His research concentrates on the organological characterization of the instruments and their potential for sound production. Research has included recordings of the instruments and ideal reconstructions of their original execution.

 

"They have little drums which they play with the hand, and another drum made of hollow wood with a heavy and sad sound. They beat it with rather a long stick with a certain gum from a tree at the end of it, and they have long thin trumpets of hollow wood with long twisted gourds at the ends. And they have another instrument made of a whole tortoise with its shells, and having taken out the flesh, they strike it with the palm of the hand. The sound is doleful and sad. They have whistles made of the leg bones of deer; and with these instruments they make music for the dancers"
(Diego de Landa, sixteenth century. Translation by Alfred Tozzer)

  Coordination:

Oswaldo Chinchilla 
Coralia de Rodríguez

  Research:

Alfonso Arrivillaga Cortés

  Avisors:

Mattias Stöeckli 
Kitty Emery

  Museography:

Humberto Vizcaíno
María Eugenia Mayén

  Conservation and   replicas:

Carlos Chaclán

  Musicians:

Alfonso Arrivillaga
Andrés Arrivillaga
Carlos Chaclán 
Edgar Carpio

  Recordings:

Ranferi Aguilar
David de Gandarias

  Drawings:

Bárbara de Nottebohm

  Photography:

Nicholas Hellmuth 
Justin Kerr

  Special thanks to:

Guillermo Mata Amado Alfonso Menéndez Castejón, Arturo Batres
Antonio Prado
Estuardo Mata Castillo
Pedro Ramírez

  Sponsors

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